Relevant bibliographies by topics / Macbeth (Shakespeare)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Macbeth (Shakespeare)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Macbeth (Shakespeare)"

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Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare." Theatrical Colloquia 7, no. 2 (December 1, 2017): 213–30. http://dx.doi.org/10.1515/tco-2017-0020.

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Abstract Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragic interaction between Macbeth and time, with all the psychological and physical tensions that derive from there. The main impact of time on Shakespeare’s tragic heroes is achieved by the actual actions of time that exposes and amplifies tragic defects of heroes (in Macbeth’s case - ambition). As in the Renaissance, myths, images and signs were used in poetics and literature to indicate a teaching, a moral, Shakespeare includes in his work symbols taken from the iconography and mythography available at that time, such as time’s tricephalous image around which Macbeth is “shaped”.
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Ramin, Zohreh, and Alireza Shafinasab. "The Unnoble Nobles: Notes on Shakespeare’s Masterful Characterization in Macbeth." International Letters of Social and Humanistic Sciences 52 (May 2015): 132–38. http://dx.doi.org/10.18052/www.scipress.com/ilshs.52.132.

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When writing Macbeth, Shakespeare faced a moral and aesthetic challenge. On the one hand, he had drawn the story of Macbeth from Holinshed's Chronicles, in which Banquo is depicted as an accomplice in the murder of King Duncan. On the other hand Banquo was believed to be the ancestor of King James, Shakespeare’s patron. Shakespeare had to write a play that at once pleased King James, remained true to the spirit of history, and could be a popular hit in the commercial world of Jacobean theatre, all seemingly contradictory ends because of the problem with the character of Banquo. So Shakespeare characterizes him in a different manner from his sources. The new characterization served a number of purposes. The most important reason for the alternation was to please King James, the alleged descendant of Banquo. Other than that, there is the dramatic purpose of creating a foil character for Macbeth, who can highlight Macbeth's characteristics. The presence of a noble Banquo also shows that human being can resist evil, as does Banquo. These points have been emphasized in many writings on Macbeth, which mean that Shakespeare's Banquo is an innocent man, a seemingly deviation from history. The present paper, however, tries to examine Shakespeare's complex characterization of Banquo which must meet those seemingly contradicting ends, a characterization far more ambivalent and artful than simple political affiliations might suggest. It will be shown that Shakespeare's Banquo not only is not simply an innocent man he seems to be at the first reading, but he could be as murderous as Macbeth himself. The only difference between the two is that one acts sooner than the other.
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PANDA, SANTANU. "Evil, Corruption, Manipulation and Abuse of Power in Shakespeare’s Macbeth." SMART MOVES JOURNAL IJELLH 5, no. 8 (August 30, 2017): 6. http://dx.doi.org/10.24113/ijellh.v5i8.2274.

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Abstract: The chief objective of this paper is to find out the features of Evil, Corruption, Manipulation and Abuse of power in Shakespeare’s Macbeth. Shakespeare is the leading and prominent dramatist of Elizabethan era. He is often regarded as England’s ‘national poet’ and the ‘Bard of Avon’. The full title of Macbeth is ‘the Tragedy of Macbeth’. This is a tragedy where hellhound becomes a hero. Shakespeare presents the psychological battle in Macbeth through soliloquy and aside. As a result Macbeth’s physical action are distinct from his mental actions. The source of Macbeth is Holinshed’s Chronicles. Shakespeare modified many facts of stories from the purpose of tragic effect. The play opens with the witches. The witches belong to natural calamity symbolically they are associated with the calamity in human nature. The witches implicitly mention two battles. They know that Macbeth will open the physical battle. But they also know that they will defeat Macbeth in physical battle. The witches are single in their purpose. They want to meet Macbeth to united strength of the evil sets as a contrast to the rebellion against Duncan. Macbeth killed Duncan to acquire the crown. To collect it he uses the tricks of corruption and Manipulation. He also misuses the power to maintain his kingdom. He killed Banquo and Macduff’s innocent wife and child. But he forgot that the crown for which he and his wife killed Duncan and several on and bring a tempest on their life it will be the cause of their destruction.
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Tink, James. "Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 71–85. http://dx.doi.org/10.18778/2083-8530.24.05.

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Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.
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Mirza, Sanaa. "The Fall of Man in Shakespeare’s Macbeth Comparing to That in A Creation Story: A Study from Qur’anic Perspective." Journal of Duhok University 23, no. 2 (December 19, 2020): 1–16. http://dx.doi.org/10.26682/hjuod.2020.23.2.1.

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Inspired and motivated by our conviction that “Shakespeare is a gift of Heaven to all of Mankind, for every creed, in every age" (Lings, 1998, 12), this research aims at studying William Shakespeare’s Macbeth from a Qur’anic perspective instead of a biblical one, as has usually been done so far. The study utilizes Islamic pedagogy to examine Macbeth, a European masterpiece, hypothesizing that Islam offers a uniquely different view of the world from that of the European one. For its textual analysis, the study relies on verses translated from the Noble Qur’an as well as Hadiths (the prophet’s traditions) from Sunnah, in addition to the text of Macbeth. The axiomatic question that is raised here is whether or not we have the right to categorize Shakespeare's Macbeth into “sacred art”. The study answers positively to this question since the thematic framework of the play revolves around “the essence of religion” (Lings, 1998, 12). The study attempts to analyze and compare the fall of man in Shakespeare’s Macbeth to that in the story of man’s creation from Qur’anic perspective according to five axes. The first axis is about the temptation of the evil power in both stories, Adam’s creation in Quran and Shakespeare’s Macbeth. The second axis examines the role of Hawaa (Eve) and Lady Macbeth as temptresses. The third axis is about the feeling of remorse for the evil actions that they take and the punishment of God. The fourth axis presents a study of the nature of some encounters between humanity and evil forces. The fifth axis presents a brief study of the types of human soul (Nafs) from Quranic perspective to diagnose the role of the soul in determining the characteristics of each personality. Yet, the study concludes that Shakespeare presents Macbeth with a narrow perspective to represent only the inherent weakness of humanity in the face of evil forces, ignoring his charitable nature to encounter evil forces, and his fall is cursed eternally because of his insistence on evil; while Adam (peace be upon him) represents humanity in all of his conditions, and his fall is not eternal because of his remorse and repentance.
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Dutta Gupta, Aabrita. "Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 91–108. http://dx.doi.org/10.18778/2083-8530.23.06.

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This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitute her through the medium of Indian classical dance and music juxtaposed with Shakespearean dialogues from Macbeth. This paper will argue the possibilities posited by this transgressive re-reading of a major Shakespearean tragedy by concentrating on a possible understanding through a Hindu religious sect —Vaishnavism, as embodied through the medium of jatra. To form a radically new stage narrative in order to bring into focus the dilemma and claustrophobia of Lady Macbeth is perhaps the beginning of a new generation of Shakespeare explorations. Iyenger’s production not only dramatizes the tragedy of Lady Macbeth through folk dramatic tradition, dance and music, but also Indianises it with associations drawn from Indian mythological women like Putana (demoness) and Shakti (sacred feminine).
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Cantor, Paul A. "Reality Czech: Tom Stoppard Discovers Shakespeare behind the Iron Curtain." Review of Politics 78, no. 4 (2016): 663–79. http://dx.doi.org/10.1017/s0034670516000565.

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AbstractTom Stoppard's Dogg's Hamlet, Cahoot's Macbeth offers fresh evidence of the universality of Shakespeare's genius. The play juxtaposes a perfunctory performance of Hamlet in an English boarding school with a courageous staging of Macbeth as a protest against Communist tyranny in 1978 Czechoslovakia. The play shows that, paradoxically, Shakespeare's plays have less of an impact in England than they do in foreign countries, where differing political circumstances, far from forming an obstacle to appreciating Shakespeare, actually bring his plays to life with a new power. By portraying the secret police interrupting the Czech Macbeth, Stoppard explores how artists can struggle against totalitarianism, and, in particular, how they can develop secret codes to express their dissidence, even under the watchful eyes of the surveillance state. Encountering Shakespeare behind the Iron Curtain, Stoppard developed a new seriousness as a playwright and a new interest in the relation of art and politics.
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Balestrieri, Mauro. "Desacralized Law: Shakespeare and the Tragedy of Sovereignty." Pólemos 16, no. 1 (April 1, 2022): 25–45. http://dx.doi.org/10.1515/pol-2022-2003.

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Abstract In the history of Western literary tradition, early modern theatres constituted an important passage for the construction of a different perception of community as well as a different appraisal of legal institutions. In modern playhouses, traditional values were staged, debated, and critiqued. In this paper, I will focus on three Shakespearean tragedies (Hamlet, Macbeth, Romeo and Juliet) that provide relevant insights about the way in which power and legal themes were challenged and questioned. In these plays Shakespeare provided a critical view of what we might call the “mystical foundation of authority.” Shakespeare’s theater is the triumph of rule and exception, of order and disorder, of sacred and profane. As I will show, in Hamlet, Macbeth and Romeo and Juliet, law is always living on the danger of its eclipse and its suspension: the threshold which separates the legal and the illegal, the legitimate and the illegitimate, is then the result of a narrative process of which Shakespeare’s theater provides perhaps the highest example in Western literary culture.
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Nicolaescu, Mădălina. "Re-Working Shakespeare: Heiner Müller’s Macbeth." American, British and Canadian Studies Journal 25, no. 1 (December 1, 2015): 119–31. http://dx.doi.org/10.1515/abcsj-2015-0010.

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Abstract This article focuses on particular meanings of the term “work,” as related first to the process of adapting Shakespeare and secondly to the ideological and philosophical resonances of this term as employed in the socialist propaganda in East Germany and which Heiner Müller introduces into Shakespeare’s text and gives an ironical twist to. In the first part it points to a few aspects of East German doctrinaire readings of Shakespeare, which were further contested and deconstructed in Müller’s translation cum adaptation. The final part zooms in on the reconfiguring of the established meanings attached to the concept of work in Müller’s rewriting of Macbeth and on the relation between these meanings and the philosophy of history he proposes in his adaptation.
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Griswold, Jeffrey B. "Macbeth's Thick Night and the Political Ecology of a Dark Scotland." Critical Survey 31, no. 3 (September 1, 2019): 31–43. http://dx.doi.org/10.3167/cs.2019.310304.

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This article complicates scholarship on Macbeth that understands political attachment in terms of an autonomous subject and attributes Macbeth’s demise to an over-susceptibility to natural or supernatural forces. By putting early modern accounts of the humoral constitution of the night air in conversation with modern theories of apostrophe, I argue that the Macbeths’ experiences of night theorise political action as inseparable from the nonhuman forces in the play. Shakespeare reworks his source material to explore the borders of the human, imagining a more complex relationship between treasonous violence and the darkness that enshrouds Scotland.
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Dissertations / Theses on the topic "Macbeth (Shakespeare)"

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Podara, Eleni. "Macbeth." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178040.

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Tato práce dokumentuje Scénická a kostýmní procesu navrhování pro výrobu divadelním představení Shakespearovy hry Macbeth jako vyrobené Pražského shakespearovské společnosti.Výroba byla provedena v Divadle Kolowrat, od 07.11.2013 do 22.listopadu 2013. Navíc produkce cestoval do Houstonu v Texasu v Rice Village divadle Main Street Theater společnosti. Je tam hráli od 27. února do 9. března 2014. Tato práce zahrnuje analýzu hry a postavy a popisuje podrobně proces návrhu a provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu jsou k dispozici.
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Johnson, Virginia Bristol. "Costume designs for Macbeth by William Shakespeare." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2962.

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Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains vi, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 34-35).
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Hays, Michael Louis. "Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear /." Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.

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Winkler, Stephanie. "Lady Macbeth narrada : dialogismo e responsabilidade em Shakespeare e Leskov." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16448.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.
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O objetivo deste trabalho é comparar duas personagens femininas: Lady MacBeth de Shakespeare e Lady MacBeth de Leskov. A partir de uma análise bakhtiniana, pretende-se mapear as diferenças entre essas Ladies. A primeira, do teatro, é uma personagem elevada, cuja ação desmedida é dotada de uma ambição que a levaria a superar sua condição de nobreza. Tudo isso, ligado a um entendimento da tragédia e do herói trágico a partir de princípios aristotélicos, clássicos e de sua releitura pelo dramaturgo inglês. A segunda, da prosa, é uma pessoa comum. Envolvida por uma narrativa cotidiana, sua ambição não-heróica, egoísta e violenta, a conduz a uma satisfação pessoal, afetiva e individualista. Além disso, há uma grande afinidade entre Leskov e Dostoiévski ao criar personagens no mundo literário com características humanas excepcionalmente realistas. Tudo isso, problematizado em consonância com a perspectiva benjaminiana em seu texto “O Narrador” – paradigma do tradutor brasileiro Paulo Bezerra. Tendo em vista que o foco de análise é justamente Leskov, ficam muito evidentes os elementos narrativos, orais e escritos, que respondem e estabelecem um dialogismo com Shakespeare e com a literatura e cultura russas do século XIX. ____________________________________________________________________________________ ABSTRACT
The main purpose of this thesis is to compare two feminine characters: Shakespeare's Lady Macbeth and Leskov's Lady Macbeth of Mtsensk. From a Bakhtin based analysis, the intention is to map out the differences between these two Ladies: the first one, from the theatre, is a distinguished character, whose extreme measures are blinded by the ambition of surpassing her condition of nobility - all of this linked to an understanding of tragedy and the tragic hero based on Aristotelic principals. The other lady is a commoner, written in an everyday narrative in prose. Her personal ambition is non-heroic at the same time that it is individualist and violent, an attitude that provides personal satisfaction. Also, there is great affinity between Leskov and Dostoyevsky in creating fictional characters that have exceptionally realistic human qualities. All these aspects will then be examined from Walter Benjamin's perspective in his text The Storyteller. Having in mind that the focus of this research is Leskov, the narrative, oral and written elements become quite evident because they respond and establish a dialogism with Shakespeare and Russian literature and culture of the XIX century.
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Loucks, Jessica Lenore. "The nature of nurture : fluids as indicators of naturalness in Macbeth /." Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000579/02/2009FT.htm.

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Thesis (M.A.) -- Central Connecticut State University, 2009.
Thesis advisor: Stephen Cohen. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 68-70). Abstract available via the World Wide Web.
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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.

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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.
Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.
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Ludwig, Carlos Roberto. "Tensões políticas e psicológicas em 'MacBeth' e no drama de Shakespeare." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15321.

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A proposta de dissertação de mestrado, intitulada Tensões Políticas e Psicológicas em Macbeth e no Drama de Shakespeare, é fazer uma leitura crítica à luz dos aspectos históricos e dos problemas psicológicos apresentados na obra de Shakespeare (1564-1616). Serão analisados os problemas políticos, históricos e psicológicos em Macbeth e no drama shakespeariano, pois, percebe-se uma intrínseca relação entre as tensões políticas e históricas e a consciência na obra de Shakespeare, nem sempre elucidada pela crítica contemporânea. Assim, notam-se dois elementos opostos, que geram tais conflitos: de um lado, o Estado monárquico, cuja necessidade é manter uma ordem harmônica e estável, que, para isso, cria mecanismos punitivos que regem e determinam a conduta do indivíduo, como por exemplo as idéias de ordem, de justiça retributiva, pregadas nas homilias, e da mística dos dois corpos do rei; de outro, o indivíduo, por exemplo Macbeth, cujo desejo entra em conflito com o Estado e sua necessidade de ordem, a fim de tentar sobrepô-los para satisfazer sua vontade. Como se observa, a oposição dos problemas históricos se revelam não só no plano político, mas Shakespeare também cria artifícios estéticos que ampliam as tensões políticas no plano psicológico. Assim, elementos históricos como o tiranicídio e a monarcomaquia vão figurar como elementos propulsores das tensões psicológicas. Essa dissertação está organizada em três capítulos. O primeiro capítulo, intitulado Tensões Políticas e Históricas em Macbeth e no Drama de Shakespeare, apresenta problemas históricas amplamente discutidos na era elisabetana e jacobina como a tirania, a monarcomaquia, a violação da soberania, as idéias de ordem e a teoria os dois corpos do rei. No segundo capítulo, Consciência no Drama de Shakespeare e na era Elisabetana e Jacobina, pretende-se mostrar como tais problemas históricos desencadeiam tensões psicológicos em algumas peças de Shakespeare, em particular em Macbeth, Richard II, Richard III e Hamlet. No terceiro capítulo, Tensões Psicológicas em Macbeth: a Consciência e a Ambição, apresenta-se uma análise da consciência e da ambição em Macbeth, como uma reação a esses embates entre o estado, seus mecanismos superegóicos e o indivíduo.
This master thesis, entitled Political and Psychological Tensions in Macbeth and in the Shakespearean Drama, aims to analise Shakespeare’s (1564-1616) masterpiece in terms of historical aspects and psychological issues. I propose to analise political, historical and psychological problems in Macbeth and in the Shakespearean Drama, for we can perceive an intrinsic connection between these political and historical tensions, and conscience in Shakespearean work, which is not always explained by some contemporary critics. At this point, there are two opposing elements, which create such conflicts: on the one hand, there is the monarchal State, whose necessity is to keep the harmonious and stable order, which hence forge punitive tools in order to control and determine the individual behaviour, such as the order ideas, retributive justice, and the theory of the King’s two bodies, which were preached in the homilies; on the other hand, there is the individual, for instance Macbeth, whose desire comes into conflict with the monarchal State and its necessity of order, for satisfying his will. That opposition of the historical problems appears not only in the political realm, but Shakespeare creates aesthetic devices as well, which spread out the political tension into the psychological level. Thus, historical issues as tyrannicide and monarchomachy will reappear as propulsioning elements to the psychological tensions. This thesis is organised in three chapters. The first one, entitled Political and Historical Tensions in Macbeth and in the Shakespearean Drama, presents some historical issues widely discussed in the Elizabethan and Jacobean Ages, such as tyrany, monarchomachy, the violation of sovereignty, the order ideas and the theory of the king’s two bodies. In the second chapter, Conscience in the Shakespearean Drama and in the Elizabethan and Jacobean Ages, it is presented how these historical problems unchain psychological tensions in some of the Shakespeare’s plays, especially in Macbeth, Richard II, Richard III and Hamlet. In the third one, Psychological Tensions in Macbeth: Conscience and Ambition, it is provided an analysis of conscience and ambition in Macbeth, as a result of a reaction against these collisions between the monarchal State, its superegoic mecanicisms and the individual.
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Clausen, Christoph. "Macbeth multiplied : negotiating historical and medial difference between Shakespeare and Verdi /." Amsterdam : Rodopi, 2005. http://catalogue.bnf.fr/ark:/12148/cb40132819c.

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Lidzén, Susanne. "Låt oss inte glömma Lady Macbeth! : En komparativ studie av Lady Macbeth i Shakespeares tragedi samt i tre moderna TV- och filmadaptioner." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-80335.

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The work of Shakespeare has been popular to make film adaptations of from the birth of cinema. Macbeth, one of his most often played tragedies, is no exception. But how did Shakespeare portray Lady Macbeth in his play, and how do directors in the 21th century choose to portray her for a modern audience? I will try to find the answer to these questions by analyzing Shakespeare´s play as well as three modern adaptations. I will begin the thesis by looking at scholars´ view in questions regarding gender, free will, adaptations and genre before analyzing the play and the three movies. I will do this so in order to make comparisons between the play and the three adaptations. My conclusion is that Shakespeare wrote Lady Macbeth as a strong woman, an “unwomanly” woman of her time. The three adaptations also portray her as a strong woman, but in three different ways. I cannot draw any overall conclusions as this thesis is a subjective interpretation of text as well as picture, but further analysis of more adaptations of Macbeth can perhaps verify what has been stated in this thesis.
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Zilleruelo, Erica Lee Wineke Donald. "Shakespeare by any other word? Shakespeare's King Lear and Macbeth reinvented in the films of Akira Kurosawa /." Diss., A link to full text of this thesis in SOAR, 2007. http://soar.wichita.edu/dspace/handle/10057/1188.

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Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English.
"May 2007." Title from PDF title page (viewed on Dec. 30, 2007). Thesis adviser: Donald Wineke. Includes bibliographic references (leaves 35-37).
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Books on the topic "Macbeth (Shakespeare)"

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Nicolas, Tredell, ed. Shakespeare: Macbeth. Basingstoke, Hampshire: Palgrave Macmillan, 2006.

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Shakespeare, William. Macbeth: Shorter Shakespeare. New York: Macmillan, 1996.

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Phillips, Brian. Macbeth, William Shakespeare. New York, NY: Spark Pub., 2002.

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Board, Coles Editorial, ed. Shakespeare: Macbeth: Notes. Toronto: Coles Publishing, 1988.

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Alan, Sinfield, ed. Macbeth, William Shakespeare. Houndmills, Basingstoke, Hampshire: Macmillan, 1992.

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Griffin, J. A. Macbeth, William Shakespeare. [Harlow]: Longman, 1989.

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Macbeth, William Shakespeare. New York, NY: Spark Pub., 2002.

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Griffin, John. 'Macbeth', William Shakespeare. Harlow: Longman, 1989.

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Bünsch, Iris. William Shakespeare, Macbeth. Stuttgart: P. Reclam, 2004.

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1976-, Coleman Aidan, ed. Macbeth - William Shakespeare. Elsternwick, Vic: Insight Publications, 2009.

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Book chapters on the topic "Macbeth (Shakespeare)"

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Gill, Richard. "Macbeth." In Mastering Shakespeare, 274–86. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_23.

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Dawson, Anthony B. "Macbeth." In Watching Shakespeare, 194–205. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19362-2_16.

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Guy-Bray, Stephen. "Macbeth." In Shakespeare and Queer Representation, 70–98. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429423802-4.

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Pfister, Manfred, and Rebekka Rohleder. "Shakespeare, William: Macbeth." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17056-1.

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Holderness, Graham, Nick Potter, and John Turner. "Macbeth." In Shakespeare the Play of History, 119–49. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19069-0_8.

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Brown, Richard Danson, and David Johnson. "Macbeth." In A Shakespeare Reader: Sources and Criticism, 115–48. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-12246-9_13.

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Brown, Richard Danson, and David Johnson. "Macbeth." In A Shakespeare Reader: Sources and Criticism, 10–19. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-12246-9_3.

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Goodland, Katharine, and John O’Connor. "Macbeth." In A Directory of Shakespeare in Performance Since 1991, 129–50. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_17.

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Goodland, Katharine, and John O’Connor. "Macbeth." In A Directory of Shakespeare in Performance Since 1991, 1031–120. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_56.

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Goodland, Katharine, and John O’Connor. "Macbeth." In A Directory of Shakespeare in Performance, 1970–1990, 117–42. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_17.

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Conference papers on the topic "Macbeth (Shakespeare)"

1

Pershina, Marina. "Metaphors of Crime and Punishment in Shakespeare’s “Macbeth”." In Proceedings of the 10th International RAIS Conference on Social Sciences and Humanities (RAIS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/rais-18.2018.35.

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Rai, Laxmi. "Tracing the Significance of the Prophecies of the Witches in Shakespeare’s Macbeth and the Nepali Shamans in the Perspective of Folklore." In 4th International Conference on Research in Humanities and Social Sciences. Acavent, 2021. http://dx.doi.org/10.33422/4th.icrhs.2021.05.70.

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